About the Component Pieces
Andrew Roberts-Gray’s new body of work, “After the Pale King,” uses contrasting materials and processes to create abstract art that oscillates between sculpture and painting.
Roberts-Gray’s previous series of abstracted landscapes revealed his interest in contrasting abstraction with representational form, graphic composition with painterly gestures. During the summer of 2014, Roberts-Gray completed “The Pale King” which proved to be a seminal work; the painting is sixteen feet long and has various sculptural elements that rest outside the actual panel. These geometric forms create a dialog with the viewer that informs the painted panel. Ultimately “The Pale King” marked a departure for the artist: his new series explodes from the surface to make 3-dimensional, entirely non-objective works.
Roberts-Gray starts with discreet elements created from paint, Dibond, cardboard, and paper maché. Roberts-Gray begins exploring relationships between these various “components.” They’re moved around his studio, placed haphazardly together, separated and re-partnered, lost and then found. Through this process, Roberts-Gray discovers relationships between discreet elements: recurring motifs-patterns, rhythms and textures and, over time, common or contrasting elements form connections.
The artist applies sharp changes in texture and color with elements like fluorescent mirrored plexiglass and cut steel; he sees this process and his component pieces as “paintings becoming sculptures.” He continues, “…as the works evolve, each gains an identity which eventually informs how the work is resolved.”
The Pale King 84x160x40
Yes My Queen
Study for Nothing 45x48x2
Hanger 18 57x48x2
Cut My Mind 37x23x2
Beyond the Time Barrier 34x48x2